Auto-destructive art

Auto-destructive art (ADA) is a form of art invented by Gustav Metzger, an

artist born in Bavaria who moved to Britain in 1939. Taking place after World
War II, Metzger wanted to showcase the destruction created from the war
through his artwork. This movement took place in England and was launched
by Metzger in 1959.[1] This term was invented in the early 1960s and put into
circulation by his article "Machine, Auto-Creative and Auto-Destructive Art" in
the summer 1962 issue of the journal Ark.

History

This movement sparked after World War I. After World War I, artists began to
introduce new styles of art that used different medias and techniques. Cubism
and Dadaism were at the heart of these new techniques. Auto-Destructive Art
follows these newer techniques by taking everyday objects and causing
damage. Destructive art is similar to Dadaism in the way it rejects past
concepts in order to not only redefine art, but also to bring light to issues.
Although similar to Dadaism, ADA was a movement of its own due to the style
and time period. After World War II, many artists turned to Abstract
Expressionism, but ADA differed with its focus on destruction.

Influences

Auto-Destructive Art was highly influenced by World War II. After the many
casualties and mass destruction, people around the world were distraught and
horrified. In comparison to World War I, World War II had a different influence
on art due to the extensive use of aircraft and the introduction of nuclear
weapons. These weapons greatly inspired artists to approach art using new
means such as corrosion, stress, or heat. ADA represents the war and its
casualties. Artists in this time period wanted to explore issues in new ways. In
order to explore these issues in the industrial society, Metzger encouraged
artists to work with scientists and engineers.[2]

Purpose

Auto-Destructive Art's purpose was to draw attention to the destruction of

previous beliefs. By allowing stress and natural forces to create damage after
an initial mark, the art is auto-created. This represents how man sparked and
created destruction. The destruction also represents the chaos caused by the
government. Politics was a major driving force of ADA artists. In interviews,
Metzger expressed his dislike of politics and commercialism. Metzger believed
the "aesthetic of revulsion" would add to the idea of the corrupt, capitalist
system.[3] By damaging the art itself, Metzger is able to question the idea of
what art is. He goes against the idea of egocentrism in the artistic world.
Metzger believed that in order to bring light to the corruption in politics, he
must remove himself and his work from the art.[4] He even states in his
manifesto that "Auto-destructive art mirrors the compulsive perfectionism of
arms manufacture - polishing to destruction point."[5] This excerpt reflects the
idea that many ADA artists shared. They wanted to withdraw from mass
production, commercialism, and manufacturing.

Artists

Gustav Metzger grew up during the Holocaust, which greatly inspired his
artwork. In 1943, Metzger lost his parents to Nazi attacks. Metzger quotes
"Facing up to the Nazis and the powers of the Nazi state coloured my life as
an artist." Metzger would spark the damage of the art piece to represent
mankind’s destruction. He then allowed natural forces to take over which
symbolized how mankind’s spark can result in much more destruction than
intended. Metzger later used his art to speak out against the violence we do
to each other and nature.[6] In his 2009 piece, Flailing Trees, Metzger
uprooted and overturned a series of trees to symbolize the brutalization done
to the natural world.[7]
 Gustav Metzger’s Flailing Trees in
Manchester International Festival
2009

Along with Metzger, John Latham was another influential destructive artist.
Latham had an interest in "temporality" and "time based" destruction.[8] His
most recognized piece was the Skoob Tower Ceremonies. Latham used stacks
of books to create towers that he then set on fire. This demonstration was
controversial due to the recent Nazi attacks and book burnings that took
place. Latham noted that he was not against the content in the books, but
rather the idea that books are the only source of knowledge. [9]

Artist Jean Tinguely was also a powerful figure in destructive art with his use
of mechanics in 1953. Later in his work, Tinguely wanted to focus on
"dematerialization" by creating machines that would eventually destroy
themselves.[10] One very significant piece was Homage to New York. This piece
included a machine that created noise, paintings, and smoke before being
stopped by a firefighter. The piece was meant to self-destruct and although
was not able to complete its actions, still succeeded as an art piece. Tinguely
believed this piece symbolized a freeing from material because once the
performance was over, it was cleaned up and there was nothing left.[11] After
this piece, Tinguely was able to construct two more successful machines that
did self-destruct.[12]

Not only was destructive art seen in traditional art, but also performance art.
Jeff Keen, a film-maker, included forms of destruction in his "collaged films".
Keen would cut and edit scenes from pop culture, comics, and other films to
create "multi-screen projections". His films were seen as disconnected and
jumbled which confused viewers. Keen symbolizes destruction in his cut and
edit skills of previous works. By using other sources and editing them together,
Keen has destructed the old and created something new.[13]

Techniques

Many strategies were used to create-or rather, destroy-art. Metzger used

bricks, cloth, and other objects as a base for his work. He then used multiple
types of harming materials such as acid or fire to create the destruction. For
one piece, Metzger threw hydrochloric acid on a nylon sheet and noted that
while the acid did destroy the sheet, it also created shapes.[14] Although this
piece did not have a name, it was later recreated in 2004 as part of the Tate
Britain exhibition, Art and the Sixties: This was Tomorrow.[15] Other artists
explored the use of everyday objects such as books or mechanics, which
expanded the concept of how seemingly mundane objects can be used to
demonstrate how materialism and manufacturing should be destroyed.

Impact

One impact of ADA was the creation of the "Destruction in Art Symposium"
(DIAS). Metzger was against the art dealer system and aimed to get Auto-
Destructive Art publicly funded, but the government would not provide
funding. Metzger was against art dealing because dealers were uninterested
in the "fundamental technical change". This resulted in Metzger and John
Sharkey to organize DIAS in 1966, which was a volunteer based event that
showcased different art forms from diverse individuals across the world. One
significant performance at this event was Yoko Ono’s "Cut" piece.[16] In this
piece, presented at the Museum of Modern Art in 1971, Ono sat and allowed
the audience to cut away pieces of her clothing. Allowing the audience to cut
away her clothing not only represented female vulnerability but also destroyed
the traditional relationship between the viewer and the artist.[17] Pete
Townshend of The Who would later relate destroying his guitar on stage to
auto-destructive art. Band member Keith Moon dramatically followed suit by
placing explosives into his drums (at some points nearly blowing himself to
pieces).[18] In 2013, Hirshhorn Museum and Sculpture Garden in Washington,
D.C., would open an exhibit giving focus to destruction in art. The exhibit
Damage Control: Art and Destruction since 1950, included a range of art that
demonstrates how destruction has impacted art today.[19] Although not highly
recognized or taught, Auto-Destructive Art still makes an impact on all types
of artists to this day. It continues to inspire artists to disconnect from
traditional art styles in order to bring attention to worldly issues.

See also

Anti-art and Anti-anti-art

Danger music

Object to Be Destroyed (1923 work by Man Ray)

Love is in the Bin (2018 work by Banksy)

References
1. Jeffries, Stuart (2012-11-26). "Gustav Metzger: 'Destroy, and you create' " (https://www.theguardian.com/a
rtanddesign/2012/nov/26/gustav-metzger-null-object-robot) . The Guardian. ISSN 0261-3077 (https://w
ww.worldcat.org/issn/0261-3077) . Retrieved 2023-08-21.

2. Beaven, K. (2012, July 16). Performance Art 101: Rebellion, destruction, ritual and taboo. Retrieved
October 18, 2016, from http://www.tate.org.uk/context-comment/blogs/performance-art-101-rebellion-
destruction-ritual-and-taboo

3. "The Assault on Culture by Stewart Homechapter on auto-destructive art" (https://www.stewarthomesoci

ety.org/ass/auto.htm) . www.stewarthomesociety.org. Retrieved 2022-11-11.

4. Lewis, B. (2009, September 30). RECOGNITION AT LAST FOR 'AUTO DESTRUCTIVE' ART;
EXHIBITION. Retrieved October 13, 2016, from
http://ic.galegroup.com/ic/gic/NewsDetailsPage/NewsDetailsWindow?
disableHighlighting=false&displayGroupName=News&currPage=&scanId=&query=&source=&prodId=
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5. Scha, R. (n.d.). Gustav Metzger: Auto-Destructive Art. Retrieved October 26, 2016, from
http://radicalart.info/destruction/metzger.html

6. Flailing Trees Gustav Metzger. (2009, July 3–19). Retrieved October 26, 2016, from
http://www.mif.co.uk/event/flailing-garden Archived (https://web.archive.org/web/20161028024052/htt
p://www.mif.co.uk/event/flailing-garden) 2016-10-28 at the Wayback Machine
 7. "Gustav Metzger: 'Destroy, and you create' " (https://www.theguardian.com/artanddesign/2012/nov/26/g
ustav-metzger-null-object-robot) . the Guardian. 2012-11-26. Retrieved 2022-11-11.

8. Iles, C. (2006, April). Book smart: Chrissie Iles on John Latham. Retrieved October 26, 2016, from
http://go.galegroup.com/ps/retrieve.do?
tabID=T002&resultListType=RESULT_LIST&searchResultsTye=SingleTab&searchType=BasicSearchFor
m¤tPosition=1&docId=GALE%7CA144705010&docType=Biography&sort=RELEVANCE&contentSegmen
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9. Beaven, K. (2012, July 16). Performance Art 101: Rebellion, destruction, ritual and taboo. Retrieved
October 18, 2016, from http://www.tate.org.uk/context-comment/blogs/performance-art-101-rebellion-
destruction-ritual-and-taboo

10. "Jean Tinguely | Swiss sculptor | Britannica" (https://www.britannica.com/biography/Jean-Tinguely) .

www.britannica.com. Retrieved 2022-11-11.

11. Tinguely, J., & Landy, M. (2009, September 1). Homage to Destruction. Retrieved October 26, 2016, from
http://www.tate.org.uk/context-comment/articles/homage-destruction

12. Jean Tinguely: Fragment from Homage to New York. (2011). Retrieved October 26, 2016, from
http://www.moma.org/collection/works/81174

13. Beaven, K. (2012, July 16). Performance Art 101: Rebellion, destruction, ritual and taboo. Retrieved
October 18, 2016, from http://www.tate.org.uk/context-comment/blogs/performance-art-101-rebellion-
destruction-ritual-and-taboo

14. "Gustav Metzger: 'Destroy, and you create' " (https://www.theguardian.com/artanddesign/2012/nov/26/g

ustav-metzger-null-object-robot) . the Guardian. 2012-11-26. Retrieved 2022-11-11.

15. Watling, L. (2012, January). Recreation of First Public Demonstration of Auto-Destructive Art 1960,
remade 2004, 2015. Retrieved October 27, 2016, from http://www.tate.org.uk/art/artworks/metzger-
recreation-of-first-public-demonstration-of-auto-destructive-art-t12156/text-summary

16. "The Assault on Culture by Stewart Homechapter on auto-destructive art" (https://www.stewarthomesoci

ety.org/ass/auto.htm) . www.stewarthomesociety.org. Retrieved 2022-11-11.

17. Yoko Ono’s Cut Piece explained. (n.d.). Retrieved October 27, 2016, from
http://www.phaidon.com/agenda/art/articles/2015/may/18/yoko-ono-s-cut-piece-explained/

18. Amazing Journey: The Story of The Who

19. Pollack, B. (2012, June 21). UNDER DESTRUCTION. Retrieved October 27, 2016, from
http://www.artnews.com/2012/06/21/under-destruction/

External links

UCSB Department of English Course Materials: Gustav Metzger (http://www.english.ucsb.edu/fa

culty/ayliu/unlocked/metzger/selections.html)